Narrative & Documentary Editing

Peru's narrative and documentary editing community draws on a long lineage. It starts with Gianfranco Annichini, Claudia Llosa's long-time collaborator on Madeinusa and the Oscar-nominated La Teta Asustada. The line runs through Frank Gutiérrez, Eric Williams (whose Asu Mare 1+2 cuts reset the domestic box-office record), Roberto Benavides, Manuel Eyzaguirre, and Sandra Rodríguez Mondoñedo. It also includes writer-director-editor Daniel Vega, who worked with his brother Diego on Octubre. Documentary editing follows the path opened by Heddy Honigmann, Sigrid Bernedo, and Marianela Vega Oroza, shown through the Festival al Este de Lima tradition.

Our edit planning pairs global shoots with editors from that same lineage. The narrative editors hold credits on landmark features like Contracorriente (the Fuentes-León Sundance winner), Días de Santiago, Magallanes, Canción sin nombre, and Wiñaypacha (Catacora's first Aymara-language Peruvian feature). Our documentary editors are at home with observational and archive forms. We book suite-time at Tondero Post, Cinesphere DI Lima, Audiovisual Project Perú Post, La Mecha Post, and Cine Lab Lima around the director's shoot. Each editor is briefed on script structure, character arcs, and thematic intent before any footage is touched on the bench.

Narrative editing covers scripted features and broadcast drama for Latina, América, ATV, Panamericana, and TV Perú. It also covers streaming commissions from Netflix LATAM, Amazon Prime LATAM, Disney+ LATAM, and Movistar Play. The work is built around set milestones: assembly, director's cut, producer's cut, fine cut, and picture lock. Structured review sessions give directors and producers clear points to shape pacing and the dramatic arc.

Documentary work often aims at festivals like the Festival de Lima Latin American Film Festival programmed by PUCP, Festival al Este, Trujillo Independent FF, Cusco Film Festival, and Festival de Cine de Lima Independiente. We handle it with respect for testimony and smooth integration of archive material. Editors use Avid Media Composer for long-form drama, Adobe Premiere Pro for documentary, and DaVinci Resolve where the finish is colour-led.

DAFO clearance under Ley 26370 runs in parallel with the cut, alongside Ibermedia or bilateral co-production forms with Argentina, Spain, and Brazil. ANACTP terms are honoured for performer buy-in. Editors deliver picture-locked timelines with clean AAF and EDL hand-offs to Cinesphere DI or the chosen sound house. Each timeline is ready for downstream finishing, with IGV 18% itemised cleanly on every invoice.